The Summer Writing Program at Naropa University has drawn some of the country’s most innovative writers since its inaugural year in 1974, when Amiri Baraka, Allen Ginsberg, Anne Waldman, and others gathered on the Boulder campus to “revolutionize the act of creative writing.” New Weathers: Poetics From the Naropa Archive gathers lectures transcribed from the Summer Writing Program’s audio collection, offering a compendium of thought on experimental poetry as both an artistic practice and a way to “wake the world up to itself,” editors Waldman and Emma Gomis write in their introduction. Organized in five sections addressing poetry’s intersection with a range of subjects—Sanctuary and Apocalypse, Ecopoetic Attentions, Communal Action, Identity in the Capitalocene, and Against Atrocity—the volume compiles lectures by Baraka and Ginsberg as well as contemporary avant-garde poets such as Fred Moten, Eileen Myles, Alice Notley, and Roger Reeves. - Poets & WritersA collection of lectures, transcribed from the audio archives of Naropa University’s Summer Writing Program, that represent a continuing lineage of experimental literary movements. New Weathers asks us to consider how poetics might embolden deeper engagements with the world. Collected from the alternative education zone founded by Anne Waldman and Allen Ginsberg with the aim of opening up discourse and fostering political engagement, these texts invoke issues of gender and race-based injustice, the global climate crisis, and our possible extinction. They weave through our poetic community, the conversations we are having, the issues we are facing—our “new weathers” to posit strategies of resistance.

This year marks the golden anniversary of the Art Ensemble of Chicago, the flagship band of the Association for the Advancement of Creative Musicians. Formed in 1966 and flourishing until 2010, the Art Ensemble distinguished itself by its unique performance practices members played hundreds of instruments on stage, recited poetry, performed theatrical sketches, and wore face paint, masks, lab coats, and traditional African and Asian dress. The group, which built a global audience and toured across six continents, presented their work as experimental performance art, in opposition to the jazz industry's traditionalist aesthetics. In Message to Our Folks, Paul Steinbeck combines musical analysis and historical inquiry to give us the definitive study of the Art Ensemble. In the book, he proposes a new theory of group improvisation that explains how the band members were able to improvise together in so many different styles while also drawing on an extensive repertoire of notated compositions. Steinbeck examines the multimedia dimensions of the Art Ensemble's performances and the ways in which their distinctive model of social relations kept the group performing together for four decades. Message to Our Folks is a striking and valuable contribution to our understanding of one of the world's premier musical groups.

Pages: 912 Size:6 x 9 in. Illus:16 b/w illus. When did the “silent deeps” become cacophonous and galaxies begin to swim in a sea of cosmic noise? Why do we think that noises have colors and that colors can be loud? How loud is too loud, and says who? Attending to sounds at once physical and political, Hillel Schwartz listens across millennia for a trajectory of changes in the Western experience and understanding of noise.From the uproarious junior gods of Babylonian epic to crying infants heard over baby monitors, from doubly-mythic Echo to loudspeaker feedback, Making Noise follows “unwanted sound” on its path through terrains domestic and industrial, legal and religious, musical and medical, poetic and scientific. At every stage of this tour de force, crafted in the inimitable prose of one of America’s most innovative cultural historians, Schwartz widens and deepens our sense of the reverberations of soundful lives, urban, suburban, rural, or lost. Never so much a question of the intensity of sounds as of the intensity of relationships, the continual redefinition of noise is a sensitive register of contending generations, classes, and genders.Drawing upon the archives of children’s authors and anti-noise activists, catalogs of fireworks and dental drills, letters of worried parents and marine biologists, Making Noise traces the process by which noise has become as potently metaphorical as the original Babel. In astrophysics as in fiction, in economics as in art, noise is no longer bound to acoustic experience. Following the visuals of his Culture of the Copy, Hillel Schwartz has spent two decades listening in to that which, literally and figuratively, makes a perfect copy impossible — those booms, hisses, and rasps that are at once the burden and token of our shared humanity. Unprecedented in its scope, this book will transform sound studies and contemporary assessments of cacophonies loud or uncomfortably quiet.

A classic of fantastic literature, Leonora Carrington's The Hearing Trumpet is the occult twin to Alice in Wonderland, published with an introduction by Ali Smith in Penguin Modern Classics.One of the first things ninety-two-year-old Marian Leatherby overhears when she is given an ornate hearing trumpet is her family plotting to commit her to an institution. Soon, she finds herself trapped in a sinister retirement home, where the elderly must inhabit buildings shaped like igloos and birthday cakes, endure twisted religious preaching and eat in a canteen overlooked by the mysterious portrait of a leering Abbess. But when another resident secretly hands Marian a book recounding the life of the Abbess, a joyous and brilliantly surreal adventure begins to unfold. Written in the early 1960s, The Hearing Trumpet remains one of the most original and inspirational of all fantastic novels. --- Leonora Carrington (1917-2011) was a British born Surrealist painter and writer described, alongside people such as Pablo Picasso and Joan Miro, as one of the leading lights of the Surrealist movement. Born in Lancashire to a strict Catholic family, she first came into contact with surrealism through her lover, Surrealist painter Max Ernst, before moving to Mexico in 1942. The Hearing Trumpet, her most famous piece of writing, was first published in France in 1974.

A portrait of the tempestuous life of the pioneering and iconic blues singer by Scotland’s National Poet. Bessie Smith was born in Tennessee in 1894. Orphaned by the age of nine, she sang on street corners before becoming a big name in travelling shows. In 1923 she made her first recording for a new start-up called Columbia Records. It sold 780,000 copies, making her a star. Smith’s life was notoriously difficult: she drank pints of ‘bathtub gin’, got into violent fist fights, spent huge sums of money and had passionate love affairs with men and women. She once single-handedly fought off a chapter of the Ku Klux Klan. As a young black girl growing up in Glasgow, Jackie Kay found in Bessie someone with whom she could identify and who she could idolise. In this remarkable book Kay mixes biography, fiction, poetry and prose to create an enthralling account of an extraordinary life. Editor Alexa von Hirschberg said: ‘Jackie Kay on Bessie Smith. Could there be a greater combination? Bessie Smith influenced artists from Bob Dylan to Mahalia Jackson to Billie Holiday and was the top-billed artist in the 1920s and 30s. Yet there are so few books about her. Jackie Kay’s evocation of Bessie’s life blew me away, and her story and her struggles take on a striking resonance today. I can’t wait to get this book into the hands of readers.’ Jackie Kay is a Scottish poet and novelist, and has been the National Poet of Scotland since 2016. She is the author of a number of works, including The Adoption Papers, Trumpet and Red Dust Road. The recipient of numerous prizes, she was also twice shortlisted for the Scottish Book of the Year Award. She is currently chancellor of the University of Salford, and divides her time between Glasgow and Manchester.

In Victorian times, England was famously dubbed the land without music - but one of the great musical discoveries of the early twentieth century was that England had a vital heritage of folk song and music which was easily good enough to stand comparison with those of other parts of Britain and overseas. Cecil Sharp, Ralph Vaughan Williams, Percy Grainger, and a number of other enthusiasts gathered a huge harvest of songs and tunes which we can study and enjoy at our leisure.But after over a century of collection and discussion, publication and performance, there are still many things we don't know about traditional song - Where did the songs come from? Who sang them, where, when and why? What part did singing play in the lives of the communities in which the songs thrived? More importantly, have the pioneer collectors' restricted definitions and narrow focus hindered or helped our understanding?This is the first book for many years to investigate the wider social history of traditional song in England, and draws on a wide range of sources to answer these questions and many more. --- LONGLISTED FOR THE PENDERYN MUSIC BOOK PRIZE --- Faber & Faber, 2017

From its use in literary theory, film criticism and the discourse of games design, Salomé Voegelin expands 'possible world theory' to think the worlding of sound in music, in art and in the everyday. The modal logic of possible worlds, articulated principally via David K. Lewis and developed through Maurice Merleau-Ponty's phenomenological life-worlds, creates a view on the invisible slices of the world and reflects on how to make them count, politically and aesthetically. How to make them thinkable and accessible as the possibility of the everyday and of art: to reach a new materialist understanding from the invisible and to develop an ear for the as yet inaudible. This revised edition continues Voegelin's exploration of the sonic possibility of the world into the sonic possibility and impossibility of the body. Listening to work by Áine O'Dwyer, Hannah Silva and Jocy de Oliveira, it considers sonic possible worlds' radical power to rethink normative constructions and to fabulate a different body from its sound: Hearing the Continuum Between Plural Bodies; between humans, humanoid aliens, monsters, vampires, plants, things and anything we have no name for yet but which a sonic philosophy might start to hear and call. --- Bloomsbury Press, 2021

Published Faber & Faber ISBN 9780571351343 Published 07/02/2019 Format PaperbackIn 1970, Viv Albertine knew she wanted to be in a band, but had never seen a woman play electric guitar. Seven years later, she was the guitarist in the hugely influential all-female punk band, the Slits. This is the story of how, through sheer will, talent and fearlessness, she forced herself on to a male-dominated music scene and became part of a movement that changed music. Everything is here, unvarnished and unwashed: art school, squatting, hanging out in Sex with Vivienne Westwood and Malcolm McLaren, spending a day chained to Sid Vicious, on tour with The Clash, and being part of a brilliant, pioneering group of women making musical history. The result is a raw, thrilling story of life on the frontiers, and a candid account of what happened post-punk, taking in a career in film, IVF, illness, divorce - and making music again, twenty-five years later. This is a truly remarkable memoir, told in Viv's frank, irreverent and distinctive voice. Utterly shocking, very funny and ruthlessly honest, it is the story of a life lived unscripted, told from the heart.

The memoir of international music icon Richard Thompson, co-founder of the legendary folk rock group Fairport Convention. --- Guitarist and songwriter Richard Thompson came of age during an extraordinary moment in British culture: it was 1967 and popular music was reflecting a great cultural awakening. In the midst of this, eighteen-year-old Thompson co-founded Fairport Convention and helped invent a new genre of music.Thompson packed more than a lifetime of experiences into his late teens and twenties. From the pivotal years of 1967 to 1975, he matured into a major musician, survived a devasting car crash and departed Fairport Convention for a duo act with his wife, Linda, at the height of the band's popularity. His discovery and ultimate embrace of Sufism profoundly reshaped his approach to everything in his life and, of course, the music he wrote thereafter. In Beeswing, Thompson goes back to his childhood, recreates the spirit of the sixties and takes us inside life on the road in the UK and the US, crossing paths – and occasionally sharing the stage – with the likes of Led Zeppelin, Pink Floyd, Nick Drake, Jimi Hendrix and more.An intimate memoir of musical discovery, personal history and social revelation, Beeswing – like Patti Smith's Just Kids or Marianne Faithfull's Faithfull – vividly captures the life of one of Britain's most significant artists during a heady period of creative intensity, in a world on the cusp of change. ---'Honest in its self-appraisal, often very moving and sometimes extremely funny — this quiet joy of a memoir is just what you’d expect from one of the finest British musicians of the last 50 years.'RICHARD WILLIAMS'With Beeswing [Thompson] adds master memoirist to his long list of artistic accomplishments . . . fascinating.'BOB MOULD

Gant Steps examines the most important figures in the creation of modern jazz, detailing the emergence of bebop through the likes of Dizzy Gillespie, Charlie Parker, Fats Navarro, Bud Powell and Thelonious Monk. Using this as its starting point, Giant Steps subsequently delves into the developments of jazz composition, modal jazz and free jazz. The music of each of these great masters is examined in detail and will provide both a fine introduction for the large audience newly attracted to the music but unsure of their direction through it, as well as an entertaining and informative read for those with a more substantial background.

Publisher ‏ : ‎Minor Compositions (25 Jun. 2020)Language ‏ : ‎EnglishPaperback ‏ : ‎200 pagesISBN-10 ‏ : ‎1570273642ISBN-13 ‏ : ‎978-1570273643Dimensions ‏ : ‎22.9 x 1.6 x 15.2 cmThe passion, intensity and complexity of the popular music produced in England between 1965 75 is the work of an extraordinary generation of working-class and lower-middle-class men and women (in alliance with a handful of middle-class men and women) who saw in the new music the remaking of something bigger than themselves, or more precisely, something bigger than themselves that they could guide and shape and call their own. In this the "use-values" of popular music underwent an unprecedented expansion and diversity during this period. Red Days presents how music and action, music and discourse, experienced a profound re-functioning as definitions of the popular unmoored themselves from the condescending judgements of post-1950s high culture and the sentiment of the old popular culture and the musicologically conformist rock n roll seeking to displace it. The remaking of the popular between 1965 and 1975, accordingly, is more than a revision of popular taste, it is, rather, the demolition of old cultural allegiances and habits, as forces inside and outside of music shattered the assumption of popular music as the home for passive adolescent identifications. --- Minor Compositions, 2020

Joanna Stingray’s inspiring and poetic memoir introduces Western audiences to the legendary musicians of Soviet rock through her improbable Cold War heroics as a young New Wave musician who, in 1985, produced Red Wave: 4 Underground Bands from the USSR with music by her new friends that she had smuggled to the West. This is her incredible testimony of youthful fortitude and rebellion, her love story, and proof of the power of music and youth culture over stagnancy and oppression.   Wild and vivid — a rollicking memoir of romance and rock ‘n’ roll in an era of upheaval and transition. From Los Angeles to Leningrad and back again, Joanna’s story is borne along by her infectious, headlong enthusiasm. It’s quite a ride. – Patrick Radden Keefe, award winning staff writer at The New Yorker and author of Say Nothing: A True Story of Murder and Memory in Northern Ireland “You are the mother of Russian rock!” a fan shouted as Stingray promoted her new autobiography at a Moscow bookstore. […] The California musician aroused the suspicions of the KGB and the FBI as she bravely championed the Soviet underground in the 1980s. The Red Wave LP, released in America in 1986, introduced western audiences to Russian rock and helped end the Kremlin’s censorship of homegrown groups. – The Guardian

Publisher ‏ : ‎Pm Press (2 Aug. 2018)Language ‏ : ‎EnglishPaperback ‏ : ‎192 pagesISBN-10 ‏ : ‎1629635065ISBN-13 ‏ : ‎978-1629635064Dimensions ‏ : ‎15.24 x 1.02 x 22.86 cmThe book explores issues of archival theory and practice that arise for any project aspiring to provide an open access platform for political dialogue and democratic debate. How far can the archive serve as a platform for dialogue and debate between different generations of activists in a culture that fetishises the evanescent present, practices a profound amnesia about its counterfactual past, and forecloses the sociological imagination of an alternative future? Can the Left establish its own autonomous model of commemoration? --- PM Press, 2021

Noise Uprising brings to life the moment and sounds of a cultural revolution. Between the development of electrical recording in 1925 and the outset of the Great Depression in the early 1930s, the soundscape of modern times unfolded in a series of obscure recording sessions, as hundreds of unknown musicians entered makeshift studios to record the melodies and rhythms of urban streets and dancehalls. The musical styles and idioms etched onto shellac disks reverberated around the globe: among them Havana’s son, Rio’s samba, New Orleans’ jazz, Buenos Aires’ tango, Seville’s flamenco, Cairo’s tarab, Johannesburg’s marabi, Jakarta’s kroncong, and Honolulu’s hula. They triggered the first great battle over popular music and became the soundtrack to decolonization.

Selected by Mattin as part of his 3 day residency 17th-19th May, 2022In Speculation as a Mode of Production: Forms of Value Subjectivity in Art and Capital, Marina Vishmidt offers a new perspective on one of the main categories of capitalist life in the historical present. Writing not under the shadow but in the spirit of Adorno's negative dialectic, her work pursues speculation through its contested terrains of philosophy, finance, and art, to arrive at the most detailed analysis that we now possess of the role of speculation in the shaping of subjectivity by value relations. Featuring detailed critical discussions of recent tendencies in the artistic representation of labour, and a brilliant reconstruction of the philosophical concept of the speculative from its origins in German Romanticism, Speculation as a Mode of Production is an essential, widescreen theorisation of capital's drive to self-expansion, and an urgent corrective to the narrow and one-sided periodisations to which it is most commonly subjected.

Published: Duke University press Book Pages: 312 Illustrations: 25 illustrations Published: January 2016 Translator: James A. Steintrager Contributor: James A. SteintragerFirst published in French in 1998, revised in 2010, and appearing here in English for the first time, Michel Chion's Sound addresses the philosophical, interpretive, and practical questions that inform our encounters with sound. Chion considers how cultural institutions privilege some sounds above others and how spurious distinctions between noise and sound guide the ways we hear and value certain sounds. He critiques the tenacious tendency to understand sounds in relation to their sources and advocates "acousmatic" listening—listening without visual access to a sound’s cause—to disentangle ourselves from auditory habits and prejudices. Yet sound can no more be reduced to mere perceptual phenomena than encapsulated in the sciences of acoustics and physiology. As Chion reminds us and explores in depth, a wide range of linguistic, sensory, cultural, institutional, and media- and technologically-specific factors interact with and shape sonic experiences. Interrogating these interactions, Chion stimulates us to think about how we might open our ears to new sounds, become more nuanced and informed listeners, and more fully understand the links between how we hear and what we do.

“Although it may at first confound, Hennix’s work, given the deep engagement it requires and deserves, opens up a philosophical and spiritual bounty for her readers. Poësy Matters/Other Matters constitutes a major historiographical contribution to our understanding of experimental music post–John Cage” — Canada Choate, Artforum“This tremendous collection will allow us, finally, to study the winding paths taken by Catherine Christer Hennix in five decades of virtually peerless exploration. As a roadmap, it promises nothing like answers. Instead, committed readers will find themselves edged further into a limitless space of multiplying questions: a fitting tribute to this bright magus and her luminous worlds.” — Benjamin Piekut, Cornell University“Hennix was among the first to connect constructive approaches in the foundations of mathematics to theories of tuning, minimalism, and art practices of the post-Cage avant-garde. These writings put forward a singular and highly individualistic agenda linking Brouwer’s Creative Subject, Lacanian psychoanalysis, formal linguistics, categorical logic (and more) to the existence of an inexhaustible interior world.” — Spencer Gerhardt, Composer and MathematicianThis two-volume set, Poësy Matters and Other Matters, presents selected texts by the Swedish polymath Catherine Christer Hennix. Volume one, Poësy Matters, is divided into two sections: poetry and drama, with each section also containing pieces of commentary by Hennix or her longtime collaborator Henry Flynt. Volume two, Other Matters, is divided into two sections: first, program notes and essays about a wide range of topics (including music, psychoanalysis, and mathematics), and second, a reproduction of Hennix’s 1989 work The Yellow Book. The first comprehensive publication of Hennix’s written work, Poësy Matters and Other Matters illustrates the singular depth and variety of her contributions to contemporary music, art, literature, and mathematics. Best known as a composer, Catherine Christer Hennix has, throughout her fifty-plus-year career, produced innovative work in the fields of not just minimal and computer music, but psychoanalytic theory, intuitionist mathematics, poetry, and prose as well. Born in Stockholm in 1948, Hennix became involved with the local jazz and electronic music communities while in her teens, meeting visiting musicians such as Eric Dolphy and Albert Ayler, studying with trumpeter Idrees Sulieman, and becoming a member of the Elektronmusikstudio. In the late 1960s Hennix traveled to New York City, where, through Åke Hodell, she met Dick Higgins and, in turn, many other members of the New York avant-garde, including La Monte Young, who would become a formative figure for Hennix and introduce her to both Henry Flynt and her eventual guru, Pandit Pran Nath. In the ensuing decades Hennix has continued to compose and perform music in a variety of formations, including in Flynt’s Dharma Warriors, a quartet with Arthur Rhames, and more recently, with her own Chora(s)san Time-Court Mirage. Hennix’s ongoing explorations of mathematics, meanwhile—namely, the work of L.E.J. Brouwer—have led to teaching positions at SUNY-New Paltz and at MIT, and an extended collaboration with Alexander Esenin-Volpin. The texts in Poësy Matters and Other Matters reflect Hennix’s diverse training as well as her long-standing personal interests in La- canian psychoanalysis and Japanese and Middle Eastern poetic forms, resulting in a rich, diffuse collection of writings that reveal one of the avant-garde’s most implacable, not to mention overlooked, creative minds. --- Edited, with an introduction by Lawrence Kumpf 2 individual books, packaged together 311 pages, 448 pages 6.75 x 9.5 inches Paperback Edition of 1,000

Written by Harry Harrison, one of DiY’s founding members, Dreaming in Yellow traces their origins back to early formative experiences, describing in detail the seminal clubs, parties, festivals and records that forged the collective. Dreaming in Yellow is an attempt to distil the story of DiY’s tumultuous existence and the remarkably eclectic, outrageous and occasionally deranged story of them doing it themselves. Emerging from Nottingham in the summer of 1989, DiY were one of the first house sound systems in the UK. Merging the anarchic lineage of the free festival scene, the cultural and political anger of bands like Crass with the new, irresistible electronic pulse of acid house, they bridged the idealistic void left by the moral implosion of the commercial rave scene. From Castlemorton to the Café del Mar, the DiY sound and DJs became internationally renowned and beneath their banners of liberty, collectivism and untrammelled hedonism achieved an underground cult status that endures to this day. Having celebrated their thirtieth anniversary in 2109, DiY continues to challenge the idea that dance music is apolitical and to celebrate the ideology of liberation through fun. Written by Harry Harrison, one of DiY’s founding members, this book traces their origins back to early formative experiences, describing in detail the seminal clubs, parties, festivals and records that forged the collective. Dreaming in Yellow is an attempt to distil the story of DiY’s tumultuous existence and the remarkably eclectic, outrageous and occasionally deranged story of them doing it themselves.